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  1. Revising Fiction, Fact, and Faith: A Philosophical Account.Nathaniel Gavaler Goldberg & Chris Gavaler - 2020 - New York: Routledge. Edited by Chris Gavaler.
    This book addresses how our revisionary practices account for relations between texts and how they are read. It offers an overarching philosophy of revision concerning works of fiction, fact, and faith, revealing unexpected insights about the philosophy of language, the metaphysics of fact and fiction, and the history and philosophy of science and religion. It will be of interest to a wide range of scholars and advanced students working in philosophy of language, metaphysics, philosophy of literature, literary theory and criticism, (...)
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  2.  7
    Ordering Comics.Chris Gavaler & Nathaniel Goldberg - forthcoming - Canadian Journal of Philosophy:1-18.
    Comics can be ordered in a range of ways, most overtly by issue number for works within a series, and by page number for pages within works. The internal elements of a comic can also be ordered by formal details found within pages. We identify four kinds of formal details specific to comics pages or two-page spreads: how their elements are arranged, how they are viewed, what events they represent, and when information about those events is presented.
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  3.  19
    Loving Lassos.Maria Chavez, Chris Gavaler & Nathaniel Goldberg - 2017-03-29 - In Jacob M. Held (ed.), Wonder Woman and Philosophy. Wiley. pp. 188–197.
    Wonder Woman's co‐creator William Marston believed that sexual bondage was key to achieving a peaceful society. Though Marston intended Wonder Woman to provide an alternative to the masculinity of the superheroes of his day, Marston's vision remains relevant today. The behavior and attitude of Marston's Wonder Woman anticipated contemporary feminist philosophers' contributions to the ethics of care. There is also an underlying ethics of care in Wonder Woman's role as what Marston calls a "Love Leader", and that combination of kink (...)
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    Watchmen as Philosophy: Illustrating Time and Free Will.Nathaniel Goldberg & Chris Gavaler - 2022 - In David Kyle Johnson (ed.), The Palgrave Handbook of Popular Culture as Philosophy. Palgrave-Macmillan. pp. 1969-1986.
    Alan Moore and Dave Gibbons’ Watchmen may be the most acclaimed graphic novel of the twentieth century. This chapter examines how it explores two metaphysical questions: What is the nature of time? Does free will exist? Moore and Gibbons explore these questions together, illuminating connections between time and free will through connections between the graphic novel’s form and content. The chapter introduces three views of the nature of time: presentism, the view that only the present exists; growing-universe theory, the view (...)
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  5.  39
    Beyond Bullshit.Chris Gavaler & Nathaniel Goldberg - 2017 - Philosophy Now 121:22-23.
    Applying Grice's account of conventional and conversational implicature, and Frankfurt's account of bullshit, shows that Donald J. Trump's language falls into a category beyond Frankfurt's own.
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    Comico, Ergo Sum.Nathaniel Goldberg & Chris Gavaler - 2020 - Philosophy Now 140:34-35.
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    Yes, Roya and Philosophy: The Art of Submission.Nathaniel Goldberg, Chris Gavaler & Maria Chavez - 2022 - In David Kyle Johnson (ed.), The Palgrave Handbook of Popular Culture as Philosophy. Palgrave-Macmillan. pp. 2085-2101.
    Yes, Roya, a 2016 graphic novel written by C. Spike Trotman and illustrated by Emilee Denich, depicts Roya, a woman of color who writes and illustrates a comic strip; Joe, a white man who gave up his career after meeting Roya, who now publishes under his name; and Wylie, a young white man starting in the profession. Roya completely dominates Joe’s career, making it hers. She also partly dominates Wylie’s, acting as his mentor. Roya dominates Joe and Wylie personally too. (...)
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  8. Perceiving Images and Styles.Nathaniel Goldberg & Chris Gavaler - 2021 - JOLMA. The Journal for the Philosophy of Language, Mind and the Arts 2 (1):132-146.
    Marks individually or in combination constitute images that represent objects. How do those images represent those objects? Marks vary in style, both between and within images. Images also vary in style. How do those styles relate to each other and to the objects that those images represent? Referencing a diverse range of images, we answer the first question with a response-dependence theory of image representation derived from Mark Johnston, differentiating Lockean primary qualities of marks from secondary qualities of images. We (...)
     
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